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Journal articles on the topic 'Hungarian Arts'
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1
Szenkovics, Dezső. "Huszti Györgytől Brunner Erzsébetig: magyar–indiai kultúrkapcsolatok az évszázadok tükrében." Modern Geográfia 17, no. 2 (April 2022): 45–65. http://dx.doi.org/10.15170/mg.2022.17.02.04.
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Throughout their history, Hungarians have always looked with great interest at the East, in which they saw their former homeland, Magna Hungaria. Perhaps this is the reason why the instinctive interest of Hungarian travellers, scientists, merchants and artists was sincere. At the same time, it is surprising that, despite the fact that the Hungarian nation was never one of the European colonizers, many Hungarians, or persons belonging to a minority living in the territory of Hungary, showed interest in the East and came to India over the centuries. These individuals, returning home and writing down the experiences they gained during their stay in India, have contributed significantly to giving Europeans an insight into the exotic world of Indian religions, literature, languages, arts. Without wishing to be exhaustive, the study highlights the development of Hungarian–Indian cultural relations and presents those Hungarians who played an important role in the continuous development of these cultural ties.
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Szenkovics, Dezső. "Cultural Ties between Hungary and India. A Short Overview." Acta Universitatis Sapientiae, European and Regional Studies 16, no. 1 (December 1, 2019): 91–119. http://dx.doi.org/10.2478/auseur-2019-0014.
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Abstract The interest of the Hungarians towards Asia is deeply rooted in the historical fact that the ancestors of the Hungarian nation arrived in their present country from the East. Over the centuries, this historical fact has significantly determined the interest and openness of the Hungarian people towards the East. In spite of the fact that the Hungarian people did not belong to the European colonizers, during the centuries, a large number of Hungarian travellers (monks, artists, scholars, and nobles) reached the coasts of India and contributed to the spread of Indian religions, literature, languages, arts, etc. in Europe.
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Malovic, Gojko. "Serbian perception of Hungarian cultural achievements between two World Wars." Zbornik Matice srpske za drustvene nauke, no. 149 (2014): 875–900. http://dx.doi.org/10.2298/zmsdn1449875m.
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Because of the conflict between the Hungarians and the Serbs in the World War I, several years after its end Serbian public did not put much effort into perceiving and forming impressions of Hungarian cultural achievements. Nonetheless, Yugoslav state institutions, primarily the Ministry of Education (also in charge of cultural affairs), paid close attention to developments in the domain of Hungarian cultural achievements. Serbian public gradually became more interested in Hungarian cultural achievements and contents. It was informed about Hungarian cultural achievements largely through articles in Hungarian newspapers and magazines, above all those specialized in cultural and artistic contents in Hungary, particularly in Budapest, covering the events in the following fields: literature, theater, music and singing, visual arts, film, and radio shows. The Yugoslav (Serbian) press also published articles on Hungarian cultural contents. Many recorded notes, findings, impressions and opinions-predominantly positive ones - of leading Serbian intellectuals, primarily writers, were preserved, which may be viewed as paradigmatic Serbian interpretations of many segments of Hungarian cultural and artistic events between the two world wars. There were many initiatives by Hungarian cultural figures, as well as by leading Serbian intellectuals, for a closer and more direct contact with Hungarian cultural achievements through visits and presentations of cultural contents by prominent Hungarian writers, actors and theater troupes, singers and choirs, visual artists and other Hungarian cultural and artistic groups in Serbian towns, foremost in Vojvodina, a significant number of which were carried out. Many Serbs became directly acquainted with Hungarian cultural contents and accomplishments between the two world wars by visiting numerous cultural events in Hungary, primarily in Budapest.
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Vančo, Ildikó. "The “we” vs. “they” distinction in Slovakia Hungarians' discourse." Hungarian Studies 34, no. 1 (March 20, 2021): 73–84. http://dx.doi.org/10.1556/044.2020.00007.
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AbstractLinguistic differentiation is a basic component of sociocultural differentiation: social processes create the social and linguistic meanings of variants, sometimes also contributing to language change through discourse processes. In addition to being continuously constructed, discourse is in a dialectic relationship with extra-discursive factors and can therefore be studied only when embedded in its social and linguistic contexts (cf. Fairclough 2010: 3–5, Laihonen 2009). In this article I investigate how the notion of “we” occurs in the metalinguistic discourse of Hungarian speakers in Slovakia (with reference to Slovakia Hungarians and their Hungarian language use) (cf. Kontra 2006) in contrast with the notion of “they” (with reference to Hungary Hungarians and their Hungarian language use) in lay speakers' utterances referring to language. The study reported on in this article uses directed interviews and employs discourse analysis to provide insight into the use of “we” vs. “they” and their meanings in the Slovakia Hungarian variety. It also seeks to show how certain expressions become indexical in conceptualizations of identity and how the distinction of “we” vs. “they” is created by language.
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Obradović, Nenad. "ОПСАДА ШАПЦА 1476. ГОДИНЕ." Историјски часопис, no. 72/2023 (December 30, 2023): 237–79. http://dx.doi.org/10.34298/ic2372237o.
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The paper aims to outline one stage of the Hungarian-Ottoman battles in the area of Posavlje, in which Serbian warriors played their role. In addition, our intention was to make the reconstruction as detailed as possible, using the most important Western and Hungarian diplomatic and narrative sources along with relevant literature in Serbian and Hungarian languages. Among the sources, we placed a particular emphasis on the epic about the siege of the city in the Hungarian language, which is also one of the oldest works of this kind among the Hungarians and has so far not received adequate attention in Serbian historiography.
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Rethelyi, Mari. "The Khazar Ancestry of Hungarian Jews." Nineteenth Century Studies 34 (November 1, 2022): 95–115. http://dx.doi.org/10.5325/ninecentstud.34.0095.
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Abstract In late nineteenth century Hungary, progressive Jewish (Neolog) scholars wrote several articles in Neolog journals publicly supporting theories of common ancestry and race with Hungarians. They created a unique identity for themselves through discussions of common origin and history, making Jews into Hungarians. One of their main theories was that of Khazar ancestry, which, despite being controversial even in its own time, enabled stories of a common Judeo-Hungarian past and race to emerge. The Hungarian nationalism that was key to their self-definition underlay all arguments concerning the nature and ancestry of Hungarian Jewish identity. They not only created histories compatible with those of the Hungarians but also molded them into something new. Examining their narratives, we can rethink the conceptual framework of the modern Jewish experience and see the successes of integration from the minority’s point of view. In this way, we can detect another perspective on history, one that does not define the modern European Jewish experience as a story of either the success or the failure of assimilation as measured by the severity of anti-Semitism but allows the minority’s voice come to light.
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Kárpáti, Andrea. "Interdisciplinarity – A New Perspective for Hungarian Arts Education." International Journal of Music Education os-11, no. 1 (May 1988): 17–20. http://dx.doi.org/10.1177/025576148801100102.
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Birnbaum, Marianna D., and Tekla Domotor. "Hungarian Folk Beliefs." Western Folklore 45, no. 1 (January 1986): 75. http://dx.doi.org/10.2307/1499620.
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Gaspers, Kinga Nijinsky, Christian Dumais Lvowski, and Redjep Mitrovitsa. "Hungarian Theatre Festival." Theatre Journal 47, no. 1 (March 1995): 137. http://dx.doi.org/10.2307/3208816.
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Gaspers, Kinga Szakats. "Hungarian Theatre Festival." Theatre Journal 46, no. 1 (March 1994): 121. http://dx.doi.org/10.2307/3208960.
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Zsuzsanna, Cziráki. "Ruha teszi a követet? A Habsburgok 17. századi konstantinápolyi diplomatáinak magyar viseletéről." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 15–36. http://dx.doi.org/10.1556/080.2020.00002.
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The paper focusses on a peculiar but so-far neglected theme in the modern-age history of the relationship between the Hungarian Kingdom, the Habsburg Monarchy and the Ottoman Empire: the Hungarian costumes of the Habsburg envoys delegated to the Porte in the 17th century. The highest ranking representatives of the diplomacy of the Habsburg House mostly of West European family ties and traditions – the overwhelming majority of whom had no Hungarian connections at all – wore ornate Hungarian costumes for their official appearances in Constantinople. It is self-evident to wonder: Why did the Habsburg House resort to this solution? and What conclusions of broader relevance can be drawn from the phenomenon? Based on archival researches in archives in Austria and Hungary, the outfit of the envoys can be reconstructed including the particularly accented dolman, fur-lined short coat mente and the Hungarian hat, while the uniquely detailed documentation of the legation of Johann Ludwig Kuefstein also sheds light on who and where produced each item. The research concluded that the Hungarian costume had an emphatic role not only in the relationship between the Habsburg monarchs and the Sublime Porte based on a complex system of symbols, but was also part of the communicational strategy toward the Hungarian estates, for it was manifestation of the exclusive and legitimate but repeatedly questioned domination of the Hungarian Kingdom by the Habsburgs toward both the dignitaries of the Porte and the Hungarian elite.
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Zsuzsanna, Cziráki. "Ruha teszi a követet? A Habsburgok 17. századi konstantinápolyi diplomatáinak magyar viseletéről." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 15–36. http://dx.doi.org/10.1556/080.2020.00002.
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The paper focusses on a peculiar but so-far neglected theme in the modern-age history of the relationship between the Hungarian Kingdom, the Habsburg Monarchy and the Ottoman Empire: the Hungarian costumes of the Habsburg envoys delegated to the Porte in the 17th century. The highest ranking representatives of the diplomacy of the Habsburg House mostly of West European family ties and traditions – the overwhelming majority of whom had no Hungarian connections at all – wore ornate Hungarian costumes for their official appearances in Constantinople. It is self-evident to wonder: Why did the Habsburg House resort to this solution? and What conclusions of broader relevance can be drawn from the phenomenon? Based on archival researches in archives in Austria and Hungary, the outfit of the envoys can be reconstructed including the particularly accented dolman, fur-lined short coat mente and the Hungarian hat, while the uniquely detailed documentation of the legation of Johann Ludwig Kuefstein also sheds light on who and where produced each item. The research concluded that the Hungarian costume had an emphatic role not only in the relationship between the Habsburg monarchs and the Sublime Porte based on a complex system of symbols, but was also part of the communicational strategy toward the Hungarian estates, for it was manifestation of the exclusive and legitimate but repeatedly questioned domination of the Hungarian Kingdom by the Habsburgs toward both the dignitaries of the Porte and the Hungarian elite.
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Dančo Jakab, Veronika. "Hungarian language education in Slovakia: Results of an empirical study." Acta Academiae Beregsasiensis, Philologica I, no. 1 (October 24, 2022): 144–61. http://dx.doi.org/10.58423/2786-6726/2022-1-144-161.
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The teaching of Hungarian as a foreign language in an organised setting is not only practised in Hungary, but also in many countries, including Slovakia. Teaching Hungarian language in Slovakia differs from that in Hungary in several aspects, mainly due to the different (Slovak) language environment and the diversity of motivation of language learners. Taking these facts into account, the present paper deals with the teaching of Hungarian as a foreign language in Slovakia, and my main aim is to provide a general insight into its everyday practice. The necessary information is gathered through empirical research conducted in the Hungarian Cultural Centre in Bratislava, a language school in Košice and the Department of Hungarian Language and Literature of the Faculty of Arts of the Comenius University in Bratislava. In the case of the aforementioned two institutions, I used semi-structured interviews with teachers as a research method, while in the case of the Comenius University I based my findings on a combination of observation and reportage methods. In preparation for the study, I formulated research questions that sought to explore the typical motivations of Hungarian language learners at each institution, the educational goals of each workshop, and the teaching methods and procedures of each institution; while starting from the fact that some professionals consider communication, language use and culture to be inseparable in foreign language teaching, I also addressed the question of whether the interviewed teachers pay attention to the teaching of the culture of the target language, i.e. Hungarian, to their students. I will try to give an adequate answer to the questions raised by presenting the information gathered during the research and by quoting verbatim from specific interviews. In addition, I will also consistently address the similarities and differences between the Hungarian Cultural Centre, the language school in Košice and the Department of Hungarian Language and Literature of the Faculty of Arts of the Comenius University in terms of the aspects of the study outlined above.
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Bauko, János. "Minority language policy and bilingual name semiotic landscape in Slovakia." Hungarian Studies 34, no. 1 (March 20, 2021): 60–72. http://dx.doi.org/10.1556/044.2020.00006.
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AbstractThe present paper addresses the issue of the interrelatedness of Slovakia’s minority language policy and the bilingual name semiotic landscape; more specifically, the name semiotic landscape of settlements populated by Slovakia Hungarians and the way Slovakia’s laws regulating name use affect visual proper noun use in the country. The name semiotic landscape constitutes an integral part of the linguistic landscape, comprising proper nouns and extralinguistic signs referring to, or accompanying names in name plates, signage in public spaces, and on various other surfaces. The name semiotic landscape is a component, an aspect, and a consequence of language policy and name policy. The way minority proper nouns can be displayed in public spaces is regulated by laws approved by the state. Some areas (such as personal name plates, business cards, and names of private institutions) are unregulated, and the forms of proper nouns can be chosen freely. This paper seeks to answer the following questions: to what extent are minority language rights implemented in visual name use in settlements populated by Slovakia Hungarians, whether Hungarian name usage is spreading, and to what extent do signage and name plates contain proper nouns in a Hungarian form. In bilingual societies, proper nouns and other signs in the minority language increase the prestige of the minority language and have the function of marking ethnic identity. In this paper, the proper noun semiotic, place name semiotic, and institution name semiotic landscapes are investigated for various proper noun types in Slovakia Hungarian settlements.
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Sellar, T. "Up Front: Hungarian Mavericks." Theater 38, no. 2 (January 1, 2008): 1–2. http://dx.doi.org/10.1215/01610775-2007-026.
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Levinger, Esther. "The Theory of Hungarian Constructivism." Art Bulletin 69, no. 3 (September 1987): 455. http://dx.doi.org/10.2307/3051066.
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Albert, Samuel D. "Austria and Hungary at the 1904 St. Louis World’s Fair: A Hint of the End." Journal of Austrian-American History 7, no. 2 (October 2023): 109–37. http://dx.doi.org/10.5325/jaustamerhist.7.2.0109.
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Abstract This article examines the Austrian participation at the 1904 St. Louis World’s Fair, focusing particularly on the display of art. Spread across two venues, the Austrian Pavilion and the Palace of Fine Arts, the display, with contributions from the Mánes Association of Fine Artists, Society of Polish Artists “Sztuka,” the Hagenbund, and the Vienna Künstlergenossenschaft illustrates the changes taking place in Cisleithanian art at the time, with the emergence and increased recognition of nationally organized art societies, whose very existence questioned the long-standing supremacy of Vienna art institutions. A further contrast is made with the Hungarian art exhibition at the same fair. Unlike the Austrian exhibit, housed in its own free-standing exhibition space, the much more modest Hungarian exhibit was divided in two. Fine arts were displayed in the Palace of Fine Arts, while decorative arts and crafts were displayed in a pavilion built inside of the exhibition hall. The author ends by contrasting the 1904 exhibition spaces with those of the 1900 Paris exhibition.
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Gomori, George. "Book Reviews : Hungarian Studies." Journal of European Studies 28, no. 109-110 (March 1998): 208–9. http://dx.doi.org/10.1177/004724419802810940.
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AYDIN, Metehan. "THE TÁLTOS STRUGGLE IN HUNGARIAN DOCUMENTS." Turkology 112, no. 4 (December 15, 2022): 135–67. http://dx.doi.org/10.47526/2022-4/2664-3162.07.
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Taking an animal form, which is called “don değiştirme (metamorphosis) in Turkish Traditional Turkish believes and/or Shamanism also appears as an important phenomenon in Fin-Ugric and Eurasian shamanism. “Don değiştirme” covers a special place in many places around the world under the name of shape-shifting or metamorphosis as well as it is a very common belief seen in many legends and narrations related to Shamanism. These phenomena contain national features as well as universal ones. This phenomenon, which is called “don değiştirme” in Turk – Altay Shamanism, has also appeared in the traditional religion of Hungarians who had lived together with Turks for centuries. In this study, the motif of Táltos struggles which has taken place in forms of mostly bulls or flames, that appears in witch trials and folkloric records will be analysed, and some examples of those records will be presented. The aim of this study is to form a connection point for comparisons between Hungarian Táltos and Eurasian-Turkish Shamanism.
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Vargyas, Zsófia. "Adalékok Marczibányi István (1752–1810) műgyűjteményének történetéhez." Művészettörténeti Értesítő 71, no. 1 (May 24, 2023): 45–78. http://dx.doi.org/10.1556/080.2022.00003.
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The art collection of István Marczibányi (1752–1810), remembered as the benefactor of the Hungarian nation, who devoted a great part of his fortune to religious, educational, scientific and social goals, is generally known as a collection of ‘national Antiquities’ of Hungary. This opinion was already widespread in Hungarian publicity at the beginning of the 19th century, when Marczibányi pledged that he would enrich the collection of the prospective Hungarian national Museum with his artworks. But the description of his collection in Pál Wallaszky’s book Conspectus reipublicae litterariae in Hungaria published in 1808 testifies to the diversity and international character of the collection. In the Marczibányi “treasury”, divided into fourteen units, in addition to a rich cabinet for coins and medals there were mosaics, sculptures, drinking vessels, filigree-adorned goldsmiths’ works, weapons, Chinese art objects, gemstones and objects carved from them (buttons, cameos, caskets and vases), diverse marble monuments and copper engravings. Picking, for example, the set of sculptures, we find ancient Egyptian, Greek and Ro man pieces as well as mediaeval and modern masterpieces arranged by materials.After the collector’s death, his younger brother Imre Marczibányi (1755–1826) and his nephews Márton (1784–1834), János (1786–1830), and Antal (1793–1872) jointly inherited the collection housed in a palace in dísz tér (Parade Square) in Buda. In 1811, acting on the promise of the deceased, the family donated a selection of artworks to the national Museum: 276 cut gems, 9 Roman and Byzantine imperial gold coins, 35 silver coins and more than fifty antiquities and rarities including 17th and 18th-century goldsmiths’ works, Chinese soap-stone statuettes, ivory carvings, weapons and a South Italian red-figure vase, too. However, this donation did not remain intact as one entity. With the emergence of various specialized museums in the last third of the 19th century, a lot of artworks had been transferred to the new institutions, where the original provenance fell mostly into oblivion.In the research more than a third of the artworks now in the Hungarian national Museum, the Museum of Applied Arts and the Museum of Fine Arts, Budapest could be identified, relying on the first printed catalogue of the Hungarian national Museum (1825) titled Cimeliotheca Musei Nationalis Hungarici, and the handwritten acquisition registers. The entries have revealed that fictitious provenances were attached to several items, since the alleged or real association with prominent historical figures played an important role in the acquisition strategies of private collectors and museums alike at the time. For example, an ivory carving interpreted in the Cimeliotheca as the reliquary of St Margaret of Hungary could be identified with an object in the Metalwork Collection of the Museum of Applied Arts (inv. no. 18843), whose stylistic analogies and parallels invalidate the legendary origin: the bone plates subsequently assembled as a front of a casket were presumably made in a Venetian workshop at the end of the 14th century.There are merely sporadic data about the network of István Marczibányi’s connections as a collector, and about the history of his former collection remaining in the possession of his heirs. It is known that collector Miklós Jankovich (1772–1846) purchased painted and carved marble portraits around 1816 from the Marczi bányi collection, together with goldsmiths’ works including a coconut cup newly identified in the Metalwork Collection of the Museum of Applied Arts (inv. no. 19041). The group of exquisite Italian Cinquecento bronze statuettes published by art historian Géza Entz (1913–1993), was last owned as a whole by Antal Marczibányi (nephew of István) who died in 1872. These collection of small bronzes could have also been collected by István Marczibányi, then it got scattered through inheritance, and certain pieces of it landed in north American and European museums as of the second third of the 20th century. Although according to Entz’s hypothesis the small bronzes were purchased by István’s brother Imre through the mediation of sculptor and art collector István Ferenczy (1792–1956) studying in Rome, there is no written data to verify it. By contrast, it is known that the posthumous estate of István Marczibányi included a large but not detailed collection of classical Roman statues in 1811, which the heirs did not donate to the national Museum. It may be presumed that some of the renaissance small bronzes of mythological themes following classical prototypes were believed to be classical antiquities at the beginning of the 19th century. Further research will hopefully reveal more information about the circumstances of their acquisition.
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Winick, Amber. "Lessons from Objects: Designing a Modern Hungarian Childhood 1890-1950." Hungarian Cultural Studies 8 (January 22, 2016): 79–96. http://dx.doi.org/10.5195/ahea.2015.216.
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Art and architecture assisted Hungary’s delivery into modern Europe, and many Hungarian designs of the early twentieth century invoked the child rather than the adult as the ideal citizen. Throughout the first half of the twentieth century, Hungarian designers, design reformers and the Ministry of Culture and Education expressed national identity through design, emphasizing objects and spaces for children as a key element in defining a national culture. This research unfolds a vital dimension of Hungarian culture by examining a selection of objects and spaces—nursery designs, children’s clothing, school architecture, the Budapest Zoo and book illustrations—made for Hungary’s children during different periods of the last century. Working in partnership with the Iparművészeti Múzeum—the Museum of Applied Arts in Budapest—as well as several public and private collections across Hungary, I researched a number of important children’s designs that helped to shape the lives and experiences of twentieth century Hungarian children. Central to my research is how social and political forces shaped designs and how these designs helped children identify as Hungarian citizens. Looking at five material case studies, I hope to demonstrate the ways in which designers negotiated issues of Hungarian identity, tradition, and modernity.
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De Montety, Henri. "A “Hungarian experience”." Hungarian Studies 26, no. 2 (December 2012): 323–33. http://dx.doi.org/10.1556/hstud.26.2012.2.10.
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Popping, Roel, and Carl W. Roberts. "Political rhetoric in the Hungarian press during the communist regime." Journalism 21, no. 10 (September 2, 2017): 1502–21. http://dx.doi.org/10.1177/1464884917728595.
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A previous analysis of post-1989 editorials in a Hungarian newspaper investigated ideological developments in Hungary in the first years after the communist regime had been replaced by elected governments. Using the same method, we here investigate whether the same developments may have extended prior to Hungary’s democratic changes. Such extension might have entailed a gradual increase in modal rhetoric indicative of free market or social justice. However, no support is found for this in Hungary’s pre-1990 state-controlled media. Instead, modal arguments only appear with noteworthy frequency after 1986 and then only ones emphasizing Hungarians’ inevitabilities and possibilities without any consistent rationale.
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Sántha, István. "Hungarian Witnesses of Infrastructure Construction in Manchuria (1877–1931)." Inner Asia 16, no. 1 (August 19, 2014): 152–77. http://dx.doi.org/10.1163/22105018-12340008.
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This paper presents accounts of seven travelogues, written by Hungarian travellers and professionals who visited or worked in Manchuria between the end of the nineteenth and beginning of the twentieth centuries. So far these texts have not received wide scholarly attention because they are accessible only in Hungarian, although they contain unique first-hand observations of the construction of the Eastern Chinese Railway and many ethnographic notes. The author suggests that some narratives, especially those written by Hungarians who worked as engineering specialists, present very balanced analysis of the situation, because they belonged neither to the colonising project in China, nor to the colonised side, but rather were enthusiasts of technological modernisation. As a theoretical frame, the author attempts to apply notions and concepts developed by infrastructural and cybernetic anthropology.
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Serfőző, Szabolcs. "Az Erdélyi Udvari Kancellária bécsi palotájának magyar történeti tárgyú pannói, August Rumel művei 1756‒1758-ból." Művészettörténeti Értesítő 70, no. 2 (September 19, 2022): 235–56. http://dx.doi.org/10.1556/080.2021.00013.
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The topic of the paper is a cycle of six large panneaux on Hungarian historical themes panted for the Vienna palace of the Transylvanian Court Chancellery. The series on Hun–Hungarian history from leaving behind the original habitat to the battle of Mohács is the earliest relic of Hungarian history painting, yet earlier researches only tangentially touched on it despite its salient importance.When the Principality of Transylvania became part of the Central European Habsburg Monarchy as a independent land in 1690, Leopold I founded the Transylvanian Court Chancellery in 1693 as the highest governing organ of Transylvania. Based in Vienna, the office functioned in diverse rented buildings for a long time, before the freshly appointed chancellor of Transylvania Gábor Bethlen (1712–1768) purchased a building in Vienna in 1755 for the office. He chose the Sinzendorf palace in Hintere Schenkenstrasse across from the Löwel bastion (later replaced by the Burgtheater) close to the palace of the Hungarian Chancellery. It functioned until it was demolished in 1880. In 1755–1759 the chancellor had a representative suite of rooms created on the second floor also including a dining room. Its walls were covered by six large (c. 325 x 310 cm) painted wall hangings or spalliers. It is known from a description by Mór Jókai that the cycle contained three scenes from the Hun–Hungarian prehistory and three from the history of the Christian Hungarian Kingdom. 1) Exodus of the Magyars from their original habitat bordering on China; 2) Pagan priest officiating a fire sacrifice and the Hun king Attila (?), 3) Prince of Moravia Svatopluk sells Pannonia to the chieftain of the Magyars Árpád for a white horse, 4) Saint Stephen converts the Magyars to Christianity, 5) King Matthias Hunyadi enters Vienna in 1486, 6) The battle of Mohács in 1526.In a study published in 1906 Piarist historian–archivist Sándor Takáts (1860–1932) adduced several data on the artists and artisans working on interior decoration of the chancellery palace including painters, presumably on the basis of the artists’ bills. These documents together with all the files of the Directorium in publicis et cameralibus perished in a fire that broke out in Vienna’s Justizpalast in 1927. The Hungarian historical panneaux were presumably painted by August Rumel (1715–1778) who features in the sources as Historienmaler and painter of the Viennese citizenry. On the basis of indirect information, the cycle can be tentatively dated to 1756–1758, as they were already included in the inventory of the chancellery in 1759.The Transylvanian Court Chancellery hardly used its first headquarters for one and a half decades after 1766. When in 1782 Joseph II merged the Transylvanian and Hungarian chancelleries, the Transylvanian office moved in 1785 next door to its sister institution, which had had a palace since 1747 a street further, in Vordere Schenkenstrasse, i.e. today’s Bankgasse. They moved in the one-time Trautson house. Parallel with that the treasury sold the former centre of the Transylvanian chancellery which was bought by imperial and royal chamberlain Count Mihály Nádasdy (1746–1826).As far as Jókai knew, the panneaux became court property in the 1780s and they were purchased at an auction in 1809 by Countess Rozália Bethlen (1754–1826) and transported to Transylvania. They can be identified in the chattels inventory for 1839 of the Jósika palace in Kolozsvár. Later the panneaux were inherited within the Jósika family. Elected minister a latere in 1895, Sámuel Jósika (1848–1923) had the cycle transported to Vienna and put them up in the “Hungarian house”, his official place, today the house of the Hungarian embassy. When his incumbency expired, the pictures went back to Transylvania and passed down in the Jósika family. In 1945 four of the pictures got lost. The two surviving pictures were purchased by the Hungarian State and hung up in the gala room of the Hungarian Embassy in Vienna in 2008 where they can still be seen.
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Gudor, Kund Botond. "Benő Karácsony (1888-1944) and Alba Iulia." Annales Universitatis Apulensis Series Historica 24, no. 1 (October 15, 2020): 129–77. http://dx.doi.org/10.29302/auash.2020.24.1.5.
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The relation of Benő Karácsony with Alba Iulia was not just a relation between childhood and youth, but one that influenced the entire life of the writer. The spiritus loci of Downtown animated the writer’s adulthood work. Living in the area, at the time inhabited especially by Hungarians and Jews, the writer fully relives the dichotomy of the military and, at the same time, administrative town, over which the Citadel rose with its distinct life. The inward tragedy of the writer cannot be understood without relation to his native town. Benő Karácsony (Bernát Klärmann) grew up in the spirituality of Jewish cultural assimilation with a Hungarian cultural identity. Talking about himself, he allows us to recognize a hybrid identity: he considers himself Hungarian, and of the Jewish religion. He spent his childhood under the romanticism bestowed on him by the livelihood of the small bourgeoisie from the town on Mureș. The memories of his childhood and youth further prevailed during the adulthood period spent in Cluj. Karácsony uniquely grasped the spirit of the town, whose two elements, the Citadel and the Downtown, seemed to have been dueling for centuries. His writings are pierced by the lightness of the spiritual and administrative connection between the two differently organized urban entities, the conflicts of this connection, towns inside a town, which seemed to live schizoidly and simultaneously under the great transformations of history. However, the humor, often critical and bitter, allows the reader to grasp urbanization and modernization in Alba Iulia in the early twentieth century. The Hungarian Jew, Benő Karácsony, one of the most notable characters of the Transylvanian literature of the twentieth century, died, exterminated as a Jew in Oświęcim (Auschwitz) in 1944, despondent of the falseness of the society in which he lived.
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Csorba, Dávid. "Characteristic Features of Recreation in Hungarian Protestant Colleges (16‒18.-c.)." Philobiblon. Transylvanian Journal of Multidisciplinary Research in the Humanities 25, no. 2 (2020): 269–80. http://dx.doi.org/10.26424/philobib.2020.25.2.05.
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The aim of this essay is to find some hints and data about how the meaning of sport was interpreted in conduct books in the early modern Hungarian literature. Here, the attributes of sport are said to further piety in the perspective of regulation: man should not serve God every day through sportive tricks, but through zealous routine of life, as a recreation form of a Christian. The laws of Hungarian Protestant Colleges (17th–19th centuries) include canons for many arts of sport and the conduct book also addresses regular exercises for preaching and praying as if they were acts of recreation.
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Koósz, István. "Japonisme in the Austro-Hungarian Monarchy." Művészettörténeti Értesítő 70, no. 2 (September 19, 2022): 375–78. http://dx.doi.org/10.1556/080.2021.00020.
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Megyeri-Pálffi, Zoltán, and Katalin Marótzy. "Parallels in German, Austrian and Hungarian Town-Hall-Architecture during the Austrian-Hungarian Monarchy (1867–1918)." Architectura 49, no. 1 (January 1, 2019): 74–92. http://dx.doi.org/10.1515/atc-2019-1004.
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Abstract Our study focuses on the development of Central European town-hall-architecture from the 1860s to the First World War. We compare the town-hall-architecture of two countries: the Austro-Hungarian Monarchy (1867) and Germany (1871). Both states were born pursuant to public law in this period, as well. This fact as well as the similar political, economic and cultural conditions led to similar public construction works. The increasing power of the bourgeoisie was also reflected by architecture; therefore a large number of town halls were built in this period. In our study, we analyse the functional system and the architectural design of the town halls of this region based on their façades, style and mass, thus placing the close cultural relations of the two states subject to our examination into a new perspective.
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Sándor, Anna. "The present and future of Hungarian regional dialects in Slovakia." Hungarian Studies 34, no. 1 (March 20, 2021): 85–97. http://dx.doi.org/10.1556/044.2020.00008.
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AbstractThis paper focuses on characterizing the present day situation of Slovakia Hungarian dialects and on outlining strategy for the future based on the status quo. After a brief overview of the dialect regions and their subregions, the present situation of Slovakia Hungarian dialects is described. The situation of the dialects is dependent on their linguistic features, their distance from the standard, as well as on extralinguistic (demographic, geographic, social, economic, educational, cultural, and settlements structural) factors. The present situation of the Slovakia Hungarian dialects is discussed, along with their changes, functions, and attitudes attached to them. The paper concludes that the differences are greater between the Slovakia Hungarian vs. Hungary Hungarian dialects than among the various Slovakia Hungarian dialects.
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A., Harangi, and Török D. "A kortárs magyar építészet és képzőművészet metszetei." International Journal of Engineering and Management Sciences 1, no. 2 (October 6, 2016): 115–22. http://dx.doi.org/10.21791/ijems.2016.2.15.
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John-Steiner, Vera. "Collaborations of Hungarian Mathematicians." Hungarian Studies 19, no. 2 (December 2005): 207–14. http://dx.doi.org/10.1556/hstud.19.2005.2.2.
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Overholser, Lisa. "The Hungarian state folk ensemble as a dynamic institution in Hungarian ethnography." Hungarian Studies 22, no. 1-2 (September 2008): 31–42. http://dx.doi.org/10.1556/hstud.22.2008.1-2.3.
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ÇAPRAZ, Hüseyin Şevket Çağatay. "SEEKING COALITION IN EUROPE AGAINST THE SUBLIME PORTE ON THE EVE OF THE BATTLE OF MOHACS AND HUNGARY." Turkology 112, no. 4 (December 15, 2022): 219–36. http://dx.doi.org/10.47526/2022-4/2664-3162.11.
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The place of the Hungarian Kingdom before Mohacs in Europe and its political maneuverability are of great importance in the comprehensive analysis of Ottoman-Hungarian connections. Thus, the place occupied by the Buda administration in European diplomacy and its attempts to maintain its political presence against the Sublime Porte [Dîvân-ı Hümâyûn] will be clearly revealed. In this way, developments that have a direct impact on Hungarian foreign policy are centered in this study. The time interval was determined as the years 1521-1522. Thus, the Ottoman raids that led to the conquest of Hungary were accepted as the starting point. The events were brought up to the conquest of Rhodes, which shook the balance of power in Europe and pointed out that the Hungarian Kingdom could not hold out any longer. In the aforementioned process, it was not aimed to review the signs of internal crisis in Hungary. For this reason, the domestic political and economic conditions of the country were not mentioned. Finally, the political and military approach of the Western European monarchs to the Hungarian Kingdom is discussed. In addition, the complex nature of multi-layered relations and the loneliness of Hungary due to being away from the west of Europe were tried to be reflected. As a matter of fact, it cannot be said that the only factor in Hungary’s foreign policy was the Ottoman threat until the conquest efforts of Sultan Suleiman. Despite the Turkish threat, the Hungarian kings Sigismund, Matthias Corvinus and to some extent the Jagiellonian Dynasty are not only observers but also guides in European politics. In the relevant context, the analyzes are intended to illustrate the characteristics of the political relationship network in during the collapse of the Hungarian Kingdom.
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Sisa, József. "The Hungarian Country House 1840–1914." Acta Historiae Artium 51, no. 1 (December 1, 2010): 139–205. http://dx.doi.org/10.1556/ahista.51.2010.1.7.
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Ilyefalvi, Emese. "Distant Reading of the Metadata of the Digitized Hungarian Charm Corpus." Incantatio. An International Journal on Charms, Charmers and Charming 9 (December 2021): 113–32. http://dx.doi.org/10.7592/incantatio2020_9_ilyefalvi.
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Based on Éva Pócs’ manual charm index an online database was created for Hungarian verbal charms within the East–West Research Group at the Institute of Ethnology, Hungarian Academy of Sciences (Budapest), between 2013 and 2018. The main goal was to create a multidimensional digital database. Digital text preparation would open the gates to new interpretations and analyses, which would bring us closer to understanding the compound and complex phenomena of charms. In the Digital Database of Hungarian Verbal Charms users can search by various metadata, like date and place of collection/recording, name of collector/scribe, informant, type of source, function of the charm, rites/gestures, language of the text, keywords etc. This paper focuses on how different new arrangements and distant reading of the corpora can reshape our knowledge about the Hungarian verbal charms.
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Száraz, Orsolya. "The Bastion of Christendom." Philobiblon. Transylvanian Journal of Multidisciplinary Research in the Humanities 25, no. 2 (2020): 281–304. http://dx.doi.org/10.26424/philobib.2020.25.2.06.
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The Institute of Hungarian Literary and Cultural Studies at the University of Debrecen formed a research group in 2010 in order to launch the research of Hungarian realms of memory. This paper was written within the frameworks of the research group. Its basic hypothesis is that the identification of Hungary as the Bastion of Christendom is an established part of Hungarian collective memory. This paper attempts to demonstrate the changes of this realm of memory, regarding its meaning and function, from its formation up to the present day.
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TARI (WITH MARCUS BANKS), JÁNOS. "Time in Hungarian Ethnographic Film." Visual Anthropology Review 23, no. 1 (March 2007): 76–83. http://dx.doi.org/10.1525/var.2007.23.1.76.
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Bakos, Katalin. "Bortnyik und die „Műhely“ •." Acta Historiae Artium 62, no. 1 (April 7, 2022): 171–366. http://dx.doi.org/10.1556/170.2021.00010.
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Bortnyik and the “Workshop”. The graphic design work of Sándor Bortnyik (1893–1976) and the “Hungarian Bauhaus”. In the Hungarian and international art history literature, Sándor Bortnyik is primarily known as an avantgarde artist attached to the circle of the MA (Today/Hungarian Art) periodical established by Lajos Kassák. Less well known is his role in the emergence of modernism in Hungary after 1925. From the very start, his painting and printmaking developed in parallel with and in interaction with his graphic design work. Having spent time in the milieu of the Bauhaus in Weimar between 1922 and 1924, upon his return to Hungary he continued to work not only in painting and printmaking, but also in book art and advertising, as well as photography, toy and furniture design, theatre work, and animation. The transcendence of the boundaries between genres, and even between branches of the arts, and the mutual influence between traditional art problems and processes and new media, are among the characteristic and still influential aspects of the modern culture of objects and visuality that were brought about by the twentieth-century avantgarde movements, and which continued in their wake. The work produced by Bortnyik, who believed that art played a role in shaping society, evolved in this spirit. His private graphic design school, the “Workshop” (in Hungarian: Műhely), was the representative in Hungarian visual culture of the Bauhaus concept of practice-based art training and functionalism, which fed off the ideas of Constructivism. The study provides a brief overview of the later development of his career, and his turn away from the genre of graphic design towards the direct communication of social, and later ideological content in painting and in printmaking.
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Iakimenko, Oksana A. "New hero in the 1960s Hungarian fiction and film." Vestnik of Saint Petersburg University. Language and Literature 19, no. 3 (2022): 595–606. http://dx.doi.org/10.21638/spbu09.2022.312.
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The article explores the formation of a new hero in Hungarian cinema of the 1960s against the background of transformations that took place in Hungarian society during the so-called Kádár Consolidation period, and in the context of changes that affected the country’s literature and film. The emergence of a new hero is closely connected with literature due to the traditional literary-centricity of Hungarian cinema. A brief description of the situation in literature and film in 1960s of this period is followed by references to three films-symbols of the era: Cantata by Miklos Jáncsó, based on József Lengyel’s short story, Age of Illusions by István Szabó and Good Evening, Summer, Good Evening, Love by Sándor Szőnyi and László Márton based on a short novel by Endre Fejes. The works of Jancsó and Szőnyi are screen adaptations of literary works (the book behind Szőnyi’s film is based on real events), while Sabo’s picture uses an original script, but using documentary materials. Versatile visual solutions, and an appeal to the current narrative techniques in current film speak in favor of the departure of 1960s’ Hungarian films from texts’ adaptations and signal the desire to talk about modernity using new modalities and practices of European cinema, as well as principles of composition inherent in the Hungarian visual arts (especially photography).
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Jankó, Ferenc, and Priszcilla Hafenscher. "The Water Histories of Hungary's Major Rivers." Historica. Revue pro historii a příbuzné vědy 14, no. 1 (July 2023): 56–73. http://dx.doi.org/10.15452/historica.2022.14.0005.
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Taking a biographical approach, two main characters of Hungarian water‑environmental history are explored in this study. Before the global warming era, meteorologist Antal Réthly played a major role in the climatic controversy concerning the water regulation and afforestation of the Great Hungarian Plain arguing that these human activities could not change the climate. In turn, water engineer Emil Mosonyi strove to conceptualize and develop the utilization of Hungarian hydropower potentials and remained a supporter of large hydropower projects even after his emigration and return, when the construction of the Danube barrage system catalyzed the Hungarian environmental movement and the political transition in 1989. Their histories help understanding of the limited capacities of science in solving environmental controversies.
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Wilson, D. M. "A Hungarian in London: Pulszky's 1851 lecture." Journal of the History of Collections 22, no. 2 (July 9, 2010): 271–78. http://dx.doi.org/10.1093/jhc/fhq016.
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Loustau, Marc Roscoe. "Politics of the Blessed Lady: Catholic Art in the Contemporary Hungarian Culture Industry." Religions 12, no. 8 (July 27, 2021): 577. http://dx.doi.org/10.3390/rel12080577.
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I examine Hungary’s Catholic arts industry and its material practices of cultural production: the institutions and professional disciplines through which devotional material objects move as they become embedded in political processes of national construction and contestation. Ethnographic data come from thirty-six months of fieldwork in Hungary and Transylvania, and focuses on three museum and gallery exhibitions of Catholic devotional objects. Building on critiques of subjectivity- and embodiment-focused research, I highlight how the institutional legacies of state socialism in Hungary and Romania inform a national politics of Catholic materiality. Hungarian cultural institutions and intellectuals have been drawn to work with Catholic art because Catholic material culture sustains a meaningful presence across multiple scales of political contestation at the local, regional, and state levels. The movement of Catholic ritual objects into the zone of high art and cultural preservation necessitates that these objects be mobilized for use within the political agendas of state-embedded institutions. Yet, this mobilization is not total. Ironies, confusions, and contradictions continue to show up in Transylvanian Hungarians’ historical memory, destabilizing these political uses.
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Mansbach, S. A. "Confrontation and Accommodation in the Hungarian Avant-Garde." Art Journal 49, no. 1 (1990): 9. http://dx.doi.org/10.2307/777175.
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BALÁZS, IMRE JÓZSEF. "Worlding Hungarian Surrealism. A Short History." Philobiblon. Transylvanian Journal of Multidisciplinary Research in the Humanities 28, no. 1 (July 3, 2023): 101–6. http://dx.doi.org/10.26424/philobib.2023.28.1.07.
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Quart, Barbara Koenig. "Review: Diary for My Children by Márta Mészáros." Film Quarterly 38, no. 3 (1985): 46–49. http://dx.doi.org/10.2307/1212543.
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Patai, Raphael, Lajos Vargyas, Marton Istvanovits, and Agnes Szemerkenyi. "Magyar Nepkolteszet [Hungarian Folk Poetry]." Journal of American Folklore 104, no. 412 (1991): 242. http://dx.doi.org/10.2307/541253.
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Portuges, Catherine. "Post-Transition Hungarian Cinema and Its National Imagery: The 26th Annual Hungarian Film Festival." Slavic Review 54, no. 4 (1995): 1004–9. http://dx.doi.org/10.2307/2501405.
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Bartalis, Izabella. "Primary School Extracurricular Music Activities in Covasna and Harghita Counties." Central European Journal of Educational Research 3, no. 1 (April 30, 2021): 36–46. http://dx.doi.org/10.37441/cejer/2021/3/1/9349.
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Arts education, including music teaching (Dohány, 2010) in elementary schools is getting less and less importance in our present day education system, accordingly we find quite relevant to investigate the situation of music teaching in Romania among the Hungarian minority educationís elementary classes. This present study would like to map the extracurricular fields of music teaching in Covasna and Harghita counties in Hungarian classes through a questionnaire research made among teachers. Our objective is to investigate extracurricular musical education in elementary classes, where we would like to find out what kind of musical activities exist in this area and how intensively do pupils take part in these activities. The self-made questionnaire was sent out online in Covasna and Harghita counties, based on the teachers ‘database at the end of January in 2020. 78 elementary school teachers took part in this research. All the collected data was processed with the help of a statistical data analysing software, examining the descriptive statistical indicators. The analysis shows that few elementary class students take part in extracurricular activities.Romanian music pedagogy research do not extend to Hungarian minority classes, thus we see it important to investigate the extracurricular activities in counties where Hungarian minorities live.
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Rozsnyai, József. "Arthur Meinig, a Hungarian architect from Saxony." Acta Historiae Artium 49, no. 1 (December 1, 2008): 523–31. http://dx.doi.org/10.1556/ahista.49.2008.1.53.
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